RICHARD III (URI Theatre Department)

Reviewed by Tony Annicone

URI Theatre Department’s first show of 2020 is “Richard III” by William Shakespeare. Richard III is an historical play by Shakespeare written in 1592 and is his second longest play after Hamlet. It depicts the Machiavellian rise to power and the subsequent short reign of Richard III of England from 1483 to 85.  He had a glamour of evil about himself that led him to do unspeakable harm to others including women and children that happened to get his way. Richard would convince people to do his bidding. Before having them offed, he’d flatter and woo them as well as manipulate and connive people to attain his nefarious goal of becoming the King. Joe and Josh Short are the co-directors for this splendid Shakespearian tale of a man who would do anything to attain power while stepping on people and having them disposed of in any underhanded manner possible. Both Joe and Josh had strong theatre training at URI, having appeared in many shows here during their college days. They shorten the show to an energetic and fast paced 90 minute one act with 15 performers playing multiple roles. They make it more understandable and enjoyable for the entire audience from start to finish.

Richard III was the last King of his lineage at the end of the War of Roses when the Tudor’s ascended to the throne and who were in power when Shakespeare wrote this show. Joe and Josh have a keen eye into this show and the Shakespearean world of the past and obtain strong performances from their college performers. They add contemporary music during the death scenes which frightens you. Commanding the stage as the egotistical and maniacal Ricard III is Matthew Oxley. He oozes venom as this despicable man. He flatters the person and then betrays them the minute they leave his presence. Richard’s body count seems endless including his brother, his cousin, his wife, his mother, his nephews and so on. Matthew delivers his lines flawlessly.

The other performers are strong in their roles, too. His right hand man and cousin, Buckingham is excellently played by Lily Ferreira. Her authoritative voice and bearing fits the part perfectly. The assorted women he abuses along the way include his very own mother, Duchess of York, his wife, Lady Anne and his dead brother Edward IV’s wife Queen Elizabeth. Mary Mullane delivers the goods as his mother who curses him at his causing the death of her two sons and her two grandchildren. Erin McGowan is also strong as Lady Anne who at first berates him for her first husband’s death but eventually falls under his evil spell. Lorraine Guerra is very impressive as Elizabeth who is very upset at the death of her husband Edward IV and her two children. These three women run the gamut of emotions in their roles. 

Richard’s cruelty tugs your heartstrings when Clarence, his brother pleads for his life as well as the scene with his two nephews who he has murdered to obtain the throne. Magenta Kolakowski plays the hapless, Clarence while young Paige Barlow plays the Young Prince. Conor Delaney plays the heroic Richmond who finally defeats Richard after “His Kingdom for a horse” speech. He not only plays this role but several smaller comic roles with a funny high pitch voice in the comic ones. So for a look back at this cautionary tale that could be ripped out of current day headlines about those in power abusing their authority although not as severe as Richard did, be sure to catch “Richard III” at URI to witness sensational acting and direction.

RICHARD III (20 February to 1 March)

URI Theatre, J Studio Theatre, Upper College Road, Kingston, RI

1(401)874-5843 or web.uri.edu/theatre

Theater Mirror Editors Favorite Theatrical Experiences of 2019

Lyric Stage’s “The Little Foxes”

By Michele Markarian and Mike Hoban

2019 was another banner year for theater in Boston, with the widest range of themes and offerings we’ve seen in a while. Fresh new theater companies and faces surprised us this year, so it’s energizing to see so much burgeoning talent bursting out in one small city. Theater Mirror Co-Editors Michele Markarian and Mike Hoban had a hard time pulling their respective lists of favorites from 2019, as there were so many deserving theatrical events, but here goes:

Read more “Theater Mirror Editors Favorite Theatrical Experiences of 2019”

DEAD MAN’S CELL PHONE – MMAS Black Box Theatre

Reviewed by Tony Annicone

MMAS’s current show is “Dead Man’s Cell Phone” by Sarah Ruhl. This dark comedy centers on Jean, a 40 something unmarried woman who works at the Holocaust Museum. She answers a constantly ringing cell phone while sitting in a cafe. She picks it up to answer it and then realizes that the owner of the phone is dead. The man still has the phone in his hand and after picking it up, she starts on a journey to first call 911 and then keep the phone to keep the man alive. Gordon, the deceased man was involved in a unique line of work that unsettles Jean when she learns about it in the second act. Along the way she meets Gordon’s wife, Hermia, his brother, Dwight, his mother, Mrs. Gottlieb and his mistress, Carlotta. She attends the funeral posing as a co-worker, travels to the cafe to meet the mistress, goes to the Gottlieb home to have dinner, then to a stationary store with Dwight and then to heaven and back again as Jean unravels the mystery of the dead man’s cell phone with interesting, unsettling and intriguing information on her journey. Jean reinvents Gordon to bring peace to his family. The moral of the story is to spend less time with your cell phone and more time with your family, friends and loved ones. Becky Price makes her debut as a director at MMAS and does a stellar job with her casting, blocking and her keen eye into the comic elements of the script as well as the weightier ones dealing with unsavory business practices, immoral behavior and people’s unkindness to others. 

Read more “DEAD MAN’S CELL PHONE – MMAS Black Box Theatre”

2019 – A Year in Boston Theatre

(Ireon Roach, Crystin Gilmore, Veronica Byrd in School Girls; Or the African Mean Girls Play – Photos by Maggie Hall Photography)

by James Wilkinson

What a time to be alive, huh? Now at the end of 2019, I’m recalling a moment way back in the early months when I was speaking with an Artistic Director about reviewing theater. “Really?” She inquired, “You enjoy seeing all of those shows?” As she asked the question, she had the furrowed brow of someone deeply concerned for my mental state. The word “enjoy” received an extra note of emphasis that signaled she wasn’t prepared to believe me if I answered in the affirmative, (which I did). I’ve counted it up. In 2019 I saw 56 plays in the Greater Boston area; I reviewed 46. With figures like those, perhaps we should be concerned for my mental state. But I figure that until I’m discovered crouched in a dark corner, eating my own hair, I haven’t cracked yet. I’ve been covering Boston theater for a little over two years and I’m happy to report back that I still think it’s the most exciting thing in the world when the house lights go down, the stage lights come up and anything at all might happen on that spot in front of you. Go figure.

Read more “2019 – A Year in Boston Theatre”

Apollinaire Theatre Company Lets You ‘Cry it Out’

Amie Gem Lytle, Lily Kaufman and Becca A. Lewis in Apollinaire Theatre Company’s ‘Cry it Out’

Review by James Wilkinson

Cry it Out – Written by Molly Smith Metzler. Directed by Danielle Fauteux Jacques. Set Design: Ilona Overweg. Costume Design: Elizabeth Rocha. Sound Design: David Reiffel. Properties Design: Kevin McGrath. Presented by Apollinaire Theatre Company at Chelsea Theatre Works, 189 Winnisimmet St, Chelsea through January 19, 2020

If you stop and think about it, it’s actually a rather brutal title. We’ll be given context early on in the play by Molly Smith Metzler that’s now being produced by Apollinaire Theatre Company, which is helpful for those of us who have yet to enter the parenting game. “Cry it Out,” as in “Letting them cry it out,” refers to a method of sleep training where the parents refrain from comforting their wailing newborns so that the infants can learn to fall asleep without assistance. It’s a necessary skill for life, (I guess), but by attaching the phrase to a play about parenting, Metzler gives it much darker implications. As her characters attempt to navigate the trials and tribulations of young motherhood through a lens of class and circumstance, the title starts to feel like an unspoken sneer coming from the society around them – one that’s dripping with existential dread. “Yeah, no one’s coming to help you. Figure it out for yourselves” seems to be the lesson imparted. Grim stuff to attach to the joys of motherhood.

Read more “Apollinaire Theatre Company Lets You ‘Cry it Out’”

ASP Serves Up Comic Cliff Notes on the Bard with ‘The Complete Works of William Shakespeare (abridged)’

ASP’s ‘The Complete Works of William Shakespeare (abridged)’. Ivy Ryan, Marc Pierre, Rachel Belleman; Photos: Nile Scott Studios

by Kevin Patterson

‘The Complete Works of William Shakespeare (abridged)’ – Written by Jess Winfield, Adam Long, Daniel Singer; Directed by Christopher V. Edwards; Scenic Design by Afsoon Pajoufar; Lighting Design by Aja Jackson; Sound Design by Elizabeth Cahill; Costume Design by Ysabelle Regis. Presented by Actors Shakespeare Project at Charlestown Working Theater, 442 Bunker Hill St, Charlestown through January 12

What’s in a name?  If the title of the Actors’ Shakespeare Company’s newest production The Complete Works of William Shakespeare (abridged) is any indication, a name may well perfectly encapsulate the essence of a thing. Behind what may seem to be a promise of schoolhouse pedantry, this new production prepares an ambush of low-key, unassuming fun for the whole family.

Read more “ASP Serves Up Comic Cliff Notes on the Bard with ‘The Complete Works of William Shakespeare (abridged)’”

‘White Christmas’ at Wang a Good Old-Fashioned Holiday Entertainment

by Shelley A. Sackett

‘Irving Berlin’s White Christmas: The Musical’ – Music and Lyrics by Irving Berlin; Book by David Ives and Paul Blake; Based on the Paramount Pictures film written for the screen by Norman Krasna, Norman Panama and Melvin Frank; Directed and Choreographed by Randy Skinner; Musical Direction by Michael Horsley; Scenic Design by Anna Louizos; Scenic Adaptation by Kenneth Foy; Costume Design by Carrie Robbins; Lighting Design by Ken Billington; Sound Design by Keith Caggiano; Orchestrations by Larry Blank; Vocal and Dance Arrangements by Bruce Pomahac. Presented by Work Light Productions at the Boch Center Wang Theatre, 270 Tremont St., through Dec. 29.

From before the curtain rises until well after it has fallen, the live orchestra of ‘Irving Berlin’s White Christmas: The Musical,’ infuses the stage and the audience at Boston’s magnificent Boch Center Wang Theatre with wholesome, happy, good vibrations. This is a grandly old-fashioned and thoroughly enjoyable theatrical experience, with tap dancing, fabulous costumes, stunning sets and, most importantly, an incomparable score by the equally incomparable Irving Berlin.

Read more “‘White Christmas’ at Wang a Good Old-Fashioned Holiday Entertainment”

Christmas Revels Brings Its Special Cheer to Depression Era America

David Coffin leading the audience, band, and chorus in this year’s Chrismas Revels.
Photos by Roger Ide.

by Mike Hoban

‘The Christmas Revels: An American Celebration of the Winter Solstice’ – Directed by Patrick Swanson; Musical Direction by Megan Henderson; Set Design by Jeremy Barnett; Sound Design by Bill Winn; Lighting Design by Jeff Adelberg; Costume Design by Heidi A. Hermiller; Presented by Revels at The Sanders Theater at Harvard University, 45 Quincy Street, Cambridge, through December 29th.

The snow fell early in Cambridge this year, reminding folks that the holiday season is indeed upon us and it’s once again time for the Christmas Revels, the non-traditional holiday family tradition that brings back folks from far and wide, year after year. Founded in 1971, this is the 49th version of Revels, which each year presents a different culture and its traditions centered on the Winter Solstice/Christmas. For this year’s setting, the Revels returns stateside for the first time in recent memory (although the show did touch down in Louisiana in 2016’s Acadian-Cajun version), transporting us back to Depression Era America in 1933.

Read more “Christmas Revels Brings Its Special Cheer to Depression Era America”

A.R.T.’s ‘Moby Dick’ Rocks Theatrical Conventions

Cast, audience members in A.R.T.’s ‘Moby Dick’ – Photos by Maria Baranova

by Mike Hoban

Moby Dick – Music, Lyrics, Book, and Orchestrations by Dave Malloy; Developed with and Directed by Rachel Chavkin; Based on Moby-Dick by Herman Melville; Music Direction and Supervision by Or Matias; Choreography by Chanel DaSilva; Mimi Lien, Scenic Design; Hidenori Nakajo, Sound Design; Bradley King, Lighting Design; Brenda Abbandandolo, Costume Design; Eric F. Avery, Puppet Design and Puppet Direction. Presented by American Repertory Theater, at the Loeb Drama Center, 64 Brattle St., Cambridge, through Jan. 12

There are a lot of adjectives one could apply to Moby Dick, the musical adaptation of the novel now being given its world premiere at the A.R.T., but “boring” would not be one of them. Considering the source material and the three-and-a-half hour run time, that may come as a bit of a surprise, but given the success that Dave Malloy and much of the same creative team that adapted (a portion) of “War and Peace” into Natasha, Pierre and the Great Comet, maybe it shouldn’t be a surprise at all.

Read more “A.R.T.’s ‘Moby Dick’ Rocks Theatrical Conventions”

Trinity Rep’s ‘Fade’ – American Dream or Betrayal?

Lucia (Elia Saldana) and Abel (Daniel Duque-Estrada) in Trinity Rep’s ‘Fade’ – Photos by Mark Turek

by Shelley A. Sackett

‘Fade’- Written by Tanya Saracho. Directed by Tatyana-Marie Carlo; Set Design by Efren Delgadillo, Jr.; Costume Design by Amanda Downing Carney; Co-Lighting Design by Pablo Santiago and Ginevra Lombardo; Sound Design by David R. Molina. Presented by Trinity Repertory Company, 201 Washington Street, Providence, R.I through January 5.

Fade, a two-person play in production on Trinity Rep’s smaller downstairs stage through January 5, is a welcome respite from the same-oldness of the usual holiday theatrical suspects. Although a bit uneven and in need of serious editing (trimming 10-15 minutes from the 100-minute intermission-less production could do wonders for its pacing), Tanya Saracho’s script is a witty and perceptive antidote to sugar plum fairies and ghosts of Christmases past, present and future.

Read more “Trinity Rep’s ‘Fade’ – American Dream or Betrayal?”